tag:blogger.com,1999:blog-27501132.post499265516901041480..comments2016-12-08T18:43:57.744-05:00Comments on Mayerson on Animation: Six Authors In Search of a Character: Part 6, Sound, Bar Sheets and TimingMark Mayersonhttp://www.blogger.com/profile/00065971589878678848noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-27501132.post-36028406568083035072012-06-08T07:20:32.536-04:002012-06-08T07:20:32.536-04:00I know that Beethoven&#39;s Pastorale was made sho...I know that Beethoven&#39;s Pastorale was made shorter for Fantasia, but I&#39;m guessing that it was done at the story stage, not the animation stage. I&#39;m sure by now Disney would have released the extra scenes if they had them. The only extra scenes from the Pastorale that exist are with the black centaurette.<br /><br />So far as I know, the rest of Fantasia&#39;s musical track wasn&#39;t altered.Mark Mayersonhttp://www.blogger.com/profile/00065971589878678848noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-26031619571335957802012-06-05T16:01:03.269-04:002012-06-05T16:01:03.269-04:00I&#39;m a complete ignorant and I&#39;m only begin...I&#39;m a complete ignorant and I&#39;m only beginning to learn about animation, only for pleasure.<br />What about musical pieces existing before the feature, as in Fantasia?<br />Are they modificated according the animation?Raúl Marconoreply@blogger.comtag:blogger.com,1999:blog-27501132.post-41847690468893547722007-05-31T12:22:00.000-04:002007-05-31T12:22:00.000-04:00After the animation started, a lot of things were ...After the animation started, a lot of things were revised. Bars were added, others removed, based on the "result" of the animation. The director could say "we'd like to see that pose more clearly - add a beat." Most often a single beat was added, like if you have a 2-12 beat (24 frame measures), some of the time adding a single beat would mean a 3-12 (36 frame measure). The musician would normally just have the 12 beat going, so this change would basically be transparant. Only after the timing was set. e.g. the animation was done, would the score be ready for final scoring, though I guess that the musician was already involved earlier. They didn't call the director's room the Music Room for nothing. The musician may have even been suggesting things at the very earliest stage in the timing, but the scoring came when all was set, AFTER the animation was done.Hans Perkhttp://www.blogger.com/profile/12707924880609997693noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-39421817181651326722007-05-31T11:33:00.000-04:002007-05-31T11:33:00.000-04:00Thanks for this information, Hans. Am I correct i...Thanks for this information, Hans. Am I correct in assuming that even with revisions, the timing was still in place before the animators started work? Or was timing revised based on animator suggestions and additions?<BR/><BR/>It's interesting that Harman-Ising didn't leave room for changes, because that is essentially how the later Warner directors worked. Chuck Jones, et al, didn't record the track prior to animation so far as I know, but tempos were chosen in advance of animation and then Carl Stalling could record to a click track with confidence that the animation would sync up.Mark Mayersonhttp://www.blogger.com/profile/00065971589878678848noreply@blogger.comtag:blogger.com,1999:blog-27501132.post-57909777267577112802007-05-31T11:26:00.000-04:002007-05-31T11:26:00.000-04:00Disney developed a new tool for use with exposure ...<I>Disney developed a new tool for use with exposure sheets called bar sheets. These sheets were essentially musical manuscript paper. One musical staff would include the score and a parallel staff would include the action. Bar sheets took up less space than exposure sheets because they didn’t need space for drawing numbers, camera information, etc. Once the action was plotted on a bar sheet relative to the musical score, the information would be transferred to exposure sheets that were sent to the animators.</I><BR/><BR/>This seems to not be ENTIRELY true: the bar sheet seems not to have started out with musical notation. I have not seen Steamboat Willie's bar sheets, but from the sheets I have I can conclude this: the director would first do his rough timing on letter-size sheets like <A HREF="http://afilmla.blogspot.com/2006/08/bar-sheets-are-in-at-last.html" REL="nofollow">this example</A> from Trader Mickey. Then, he-or later the assistant director-would elaborate on this like in <A HREF="http://afilmla.blogspot.com/2006/09/barsheet-example-pointer.html" REL="nofollow">this example</A> from The Pointer. The info in the bars would be copied into the action colums of the animators' exposure sheets. Only after extensive revisions and a lot of sweatboxing would they end up with a final picture, and it was at this point that the bar sheets would be copied onto musical paper, and the composer would write his score.<BR/><BR/>This procedure was misunderstood at Harman-Ising, where they wrote the barsheet and had the score written and recorded immediately, like on the example you use, without the immense benefit of revisions. This inflexible way of working made a world of difference in the "quality of the timing" of their pictures...Hans Perkhttp://www.blogger.com/profile/12707924880609997693noreply@blogger.com